U G 

, U.55 



iin 




aass___^'-:-^: All 



Book 




"bcl 



O til 0\ VVV-i^v. Si . C 



Fi 



LANDSCAPE SKETCHING 



REPUBLICATION BY THE ARMY WAR COLLEGB 

OF PART OF A PAMPHLET ORIGINALLY ISSUED 

BY THE SCHOOL OF MUSKETRY 



AUGUST, 1917 




,.^ / ^ 



-JL^:i 



WASHINGTON 

GOVERNMENT PRINTING OJFFICB 

191/ 






WAR DEPARTMENT 

Document No. 645 
OiTicE OF I'HE Adjutant General 



D. or i). 






WAR DEPARTMENT, 

Washington, August 8, 1917. 
The followiDg pamphlet en Landscape Sketching is published 
for the information of all concerned. 
[062.1, A. G. O.] 
By okdeb or the Secsetaby of Wab : 

TASKER H. BLISS, 
Major General, Acting Chief of Staff. 
Official : 

H. P. McCain, 

The Adjutant General. 

8 



LANDSCAPE SKETCHING. 

THE CONTOURED MAP IS INDISPENSABLE IN 
MANEUVERING TROOPS. 

The panoramic or landscape sketch is the means par ex- 
cellence for target designation. It is also of great military 
value in illustrating a reconnaissance, making outpost sketches 
and range cards. Bridges, fords, forks in the road, and other 
features shown on topographical maps may be quickly identified 
by using marginal sketches. 

30. Photography has been tested with elaborate devices as a 
substitute for landscape sketching. The results are fairly satis- 
factory when taken under propitious conditions of light and 
atmospheric conditions. But the camera can not select details. 
Useless features in the immediate foreground are emphasized, 
while essential details more distant are scarcely perceptible. 
Views of the same terrain taken from different angles are 
seldom possible in battle reconnaissance. 

Tlie delay caused by combining and analyzing the results will 
usually render the photographs of little service in that particu- 
lar engagement. For the quick work and immediate results 
demanded by battle reconnaissance there seems very limited 
use for photography and the maximum demand for rapid 
free-hand sketching. 

A landscape sketch shows tlie terrain graphically and re- 
quires no study or training to comprehend. The horizon is 
always of military importance. This is always shown, as woll 
as intervening crests, woods, houses, feiices, etc. 

A great French authority states: "It is as necessary for an 
ofticer to knov/ how to draw as to know how to write, for often 
with two lines h.e can tell more and tell it better than with 
two pages of v.riting, inasmuch as a few strokes of the pencil 
are made more quickly and easily than a report is composed, 
and secure and classify details for a report much better than 
do the memories which we preserve from a long reconnaissance." 

Drawing is the educator of the eye, par excellence. — It teaches 
one to judge ground rapidly by developing that iastinct whicli 

5 



6 LANDSCAPE SKETCHING. 

gives to the sight a power, and certainly not acquired otherwise 
tlian by the habit of studying the landscape in detail and in its 
various aspects. It engenders an accuracy of observation which 
mechanically notes the form and aspect of things, even though 
the mind be occupied with other matters. 

The habit of sketching gives to the memory a faculty that might 
be called intuitive, that of grasping, in spite of one's self and in 
spite of mental distraction, the form and color of objects seen. 

The ability to estimate distances and see military features of 
the terrain is admittedly an indispensable part of military train- 
ing. Tliere is no surer or quicker method of educating the eye 
for ground and distances than actual practice in sketching. 

This work, done from the terrain in the perspective, has a 
terror for most officers and men. It seems customary to state, 
" I am not an artist," and give up without an honest attempt to 
attain proficiency. 

The making of route and position sketches is required as a 
matter of routine knowledge throughout the Army. Many an 
officer and enlisted man points with pride at such sketches he 
now makes with little effort, where in the beginning lie viewed 
with alarm the possibility of ever being called upon to map a 
road or outpost position. 

When attacked in earnest, landscape sketching will be found 
to be no more difficult than topographical mapping and far 
easier to many. 

An item that may appeal to some is that the landscape sketch 
is made without the sketcher moving from one spot, and is 
usually executed while seated. 

Military positions are located on the sketch by the angular 
deflection, measured in rails, from a reference point. The range, 
determined by measurement or estimation, and the deflection 
together locate the target, etc. The deflection of each end of 
troops in line is shown, thus furnishing the necessary data for 
determining the hostile strength. 

As the reference point is chosen for its clear definition, it 
will seldom be exactly in the hostile position. The peak may 
be 20 miles beyond, the house or tree chosen may be nearer or 
more distant than the lines of enemy troops. 

This position of the reference point with reference to the 
place from which the sketch was made and the deflection of 
targets was determined must be considered in advancing to a 
position illustrated by a landscape sketch. 



LANDSCAPE SKETCHING. 7 

The deflection in mils and the lateral arrangement of features 
is accurate only for the position from which the sketch was 
made. As soon as the observer moves from that position changes 
occur in the deflection due to parallax. This fact must be con- 
sidered in apportioning the target betvi^een companies, platoons, 
etc. 

The paper used by a patrol will usually be a notebook or the 
back of a field message bkmk. The length of the sketch will 
seldom exceed 8 inches, which includes a visual angle of about 
30°. A pad especially prepared for sketching is furnished for 
this work at the School of IVlusketry. 

When landscape sketclies are made on the back of the field 
message blank (Signal Corps, 217, A), held 20 inches from the 
eye, each inch of the rule printed at the top of the sheet sub- 
tends 50 mils ; at 10 inches. 100 mils ; at 15 inches 1^ inches on 
the paper subtends 100 mils. 

TARGET DESIGNATION. 

31. The landscape sketch presents graphically the location of 
the target and other data necessary to fire direction and control. 

The landscape sketch portrays graphically a sector of the 
terrain from the position of the observer to the horizon, includ- 
ing the targets. The reference point, an easily recognized fea- 
ture of the terrain, is identified on the sketch by an arrow head. 
Targets are indicated by use of conventional signs for Infantry, 
Cavalry, Artillery, and machine guns. The deflection of the 
target from the reference point is given in mils and the range 
in yards, both entered along the upper margin of the pai>er 
along with any explanatory data advisable. An error in de- 
flection should never exceed 10 mils. The manner in which the 
ranges are determined — by measurement or estimation — is noted 
on the sketch. 

The deflections locate the flanks of the target and permit a 
division into sectors, selection of aiming points, preliminary in- 
struction to range estimators, etc., before arriving at the point 
from which the sketch is made. 

ILLUSTRATION OF RECONNAISSANCE REPORTS. 

32. By means of landscape sketches a patrol leader can render 
his report clear, accurate, brief, and comprehensive. 



8 LANDSCAPE SKETCHING. 

A reconnoissance patrol may travel many miles and discover 
many items of military importance in the terrain covered. Land- 
scape sketches made at happily chosen places, identified on his 
route sketch, will reproduce the terrain in a familiar aspect. 
A few lines and explanatory remarks will convey graphically 
and accurately much valuable information otherwise difficult to 
describe. A report of a hostile position is of the greatest im- 
portance; the same report illustrated by a sketch showing 
graphically the flanks and location of the position with refer- 
ence to the neighboring terrain permits small opportunity for 
error. Such a sketch, locating the hostile disposition with 
reference to easily recognized features of the terrain, showing 
crest lines and possible firing positions, may be made from the 
concealment offered by brush, rocks, etc. 

The position of the observer and the direction illustrated by 
a landscape sketch are located on the route sketch thus : 



Gf 



J^ ®* 



The number corresponds to that on the landscape sketch and 
the arrow points in the direction illustrated. 

A battle reconnaissance patrol is sent out just preceding or 
even during an engagement. Reports must be brief but compre- 
hensive. Panoramic sketches made from pos;<ible firing posi- 
tions will portray graphically the targets presented by the hostile 
lines. 

OUTPOST SKETCHES. 

33. A landscape sketch portraying the terrain in front of an 
outpost position presents a grapliic picture to higher com- 
manders of the country under observation. Sketches on whicli 
the ranges and directions to different points are noted are of 
great value when this information is transmitted on changing 
reliefs. 

RANGE CARDS. 

34. Ranges are determined to various objects on the terrain 
in front of a position prepared for defense. 

This information is placed on sketches of the terrain, or range 
cards. These sketches are always graphic representations of 
the object indicated, drawn plainly to facilitate ready identifi- 
cation by troops called upon to oppose the enemy. 

Range cards made as landscape sketches permit easy and accu- 
rate identification of the ranging points. 



lANDSCAPE SKETCHING. 9 

MARGINAL DRAWING. 

So, Small niai-iiiual drawings of fords, bridges, forks in the 
road, landmarks, etc., add immeasurably to the value of the 
topographical sketches or maps. There is often delay in identi- 
fying the road crossing, bridge, ford, etc., on the ground with 
the map. This difficulty is eliminated if a small sketch of the 
crossing, bridge, etc., appears on the margin of the map. (See 
plate 1.) 

PANORAMIC OR LANDSCAPE SKETCHING. 

Landscape sketching presents the terrain as actually viewed 
by the observer. Proficiency is acquired by practice. Con- 
ventional signs are limited to those representing troops. Other 
military data is written on the sketch. 

S6. Military landscape sketching requires a certain knowledge 
of the general principles of drawing, including the elements of 
perspective, which are its foundations. This knowledge, how- 
ever, may be acquired during actual practice while sketching 
from nature. 

Military landscape sketching differs in important character- 
istics from purely artistic work. The effect and harmony of 
the sketch is entirely secondary to the delineation of the military 
features to be portrayal. Accuracy, simplicity, the elimination 
of details, not of military importance, a correct generalization of 
the background, and, above all, an easy comprehension at a 
glance, these are the essentials of a military landscape sketch. 

Landscape sketching presents the country in elevation instead 
of in plane. It is not necessary to be an artist to produce a 
useful sketch. It is often better that the artistic sense be 
absent, and that instead of idealizing a landscape, it should be 
looked at with a cold, matter-of-fact military eye. 

The beginner will at first be confused by the mass of detail 
in the landscape before him. He must ignore all but the outline 
of the features presented. Omit even prominent details in the 
immediate foreground that are not of value in the sketch, such 
as telegraph poles, trees, etc. He nuist learn to leave out unim- 
portant details. The fewer lines used the clearer the sketch 
and the less time required to make it. 

A difficulty will be met in drawing the houses, trees, etc., as 
they are seen in the landscape. Absolute accuracy in the details 
of their appearance is not essential. The sketcher first repro- 
duces the outline of the important military points, as skyline 
7493°— 17 2 



10 



LANDSCAPE SKETCHING. 








LANDSCAPE SKETCHING. 11 

and crests, then tills in otlier details with the fewest lines pos- 
sible. Use bare outlines and leave general shading alone. Un- 
necessary shading in a landscape sketch tends to confuse and 
distracts from its clearness. 

The beginner will do well by first copying other landscape 
drawings. By so doing he will learn to handle his pencil and 
gain confidence in himself. Then make several sketches of the 
same country at different times. The ability to sketch will come 
with surprising facility. 

The chief difticulty experienced by tlie beginner is in produc- 
ing the receding effect in his picture, the perspective. To 
overcome this, note carefully the size of tl e objects. Looking 
at the landscape, as objects are placed farther off. tliey appear 
smaller. Make them so in the drawing. 

The comparative dimensions of objects near and distant may 
l>e noted by holding a pencil at arm's length before the eye 
and defining the limits of the object between the thumb and 
end of the pencil. Heavy lines will be used in depicting the 
foreground, medium lines objects in the middle distance, and 
the background sketched by fine strokes with a hard pencil. 

A careful study of the ground Iiefore commencing to draw 
will assist greatly. Field glasses will define accidents and de- 
tails not plain to the eye. 

First draw the sky line, then work toward the foreground, 
gradually thickening the strokes. It may be advantageous for 
a beginner to use rlii-ee pencils of varying hardness, as an H 
for the foreground, 3 H for middle distance, and 5 H for back- 
ground. Commercial pencils. Nos. 2 and 3, pointed and used 
with care, produce the same results and are always available. 
Several pencils should be carried pointed and ready for use. 

To put in woods, sketch the outline of the tree tops with a 
succession of short curves, then di-aw a broken line to show the 
near edge of the woods if in relief and fill the space between 
\\ith diagonal shading. This is the only shading required in 
the entire landscape sketch, the result being that trees stand 
out among other details. 

It will be nf)ted tliat woods are of great value for indicating 
depressions and defiladed areas. A tree on a plain or slope 
in full view will show a portion of the trunk. Trees partially 
concealed by ridges show only the rounded top. Draw only 
the silhouette or outline of the tree, do not attempt detail of 
branches. 



12 lANBSCAPE SXETCHHTG. 

All roads are shown by two unbroken lines representing the 
■edges which get closer together as the road recedes until they 
unite forming one line. 

Do not show unimproved roads and trails by dotted lines 
iis on contoured sketches ; use solid lines, and place any explana- 
tory data in the T-section at the top of the paper. 

Draw only the outline or silhouette of buildings. 

PRACTICE IN LANDSCAPE SKETCHING. 

37. (a) A beginner in landscape sketching should first copy 
:some typical sketches. He will thus learn how to handle his 
.pencils, the relative weights of the lines in foreground and 
■distance, and the extremely small size of the few conventional 
signs used to represent troops. He will also appreciate the 
importance of a sharp point to his pencils, and keep several 
•always ready for use. 

(b) The next step should be drawing imaginary landscapes. 
This is excellent practice. Skylines and intermediate crests 
can be drawn, and troops of all arms placed iu position. 

(c) Select a sector convenient to quarters, and sketch the 
same landscape at least once a day until the result is satis- 
factory. 

(d) Select other landscapes for practice. 

.(e) Allow 10 minutes for the completion of a sketch. 

THE SCHOOL OF MUSKETRY SKETCHING PAD. 

88. A pad of specially ruled paper has been designed for use 
in landscape sketching at the ^cliool of Musketry. (See 
plate 2.) 

The sheets are 8i by oi inches. Vertical lines in light blue 
•cross the paper. These vertical lines are of value as guides in 
dropping features of the landscape located over the top of the 
paper down to the sketch strip. 

The intercept between tlfese vertical lines equals the 50 mils 
division of the musketry rule. A cord run through the metal 
eyelet set in the center of the backing near the top and knotted 
at 15 inches is used to insure the paper being held at the same 
•dif^tance from the eye each time the pad is oriented. With this 
length of oord the interval between the vertical lines subtends 
50 mils. 



LANDSCAPE SKETCHING. 



IS 



< 


















/? ^ 




















■ ;i i 




































- 


■ 


• 11 
















■h Q Z «. 






— 


— . 




^^ 







<H 


z 
q: 


L 
Q 







■ 


— 


v_ 




II 



14 LANDSCAPE SKETCHING. 

Four horizontal lines, also in light blue, at half-inch intervals 
are drawn just below the center of the sheet, the four inclosing 
a strip li inches in width. This strip marks the vertical limits 
of the sketch. 

At the top of the paper are two heavy orientation marks and 
three horizontal black lines deliniug divisions marked for the 
target, range, and deflection. 

Below the picture strip on the left is a place for a description 
of the position from which tlie sketch was made. In the cen- 
ter is a circle to contain the number of the sketch and indicate 
its position. By the side of this circle an arrow with one barb 
is drawn to show the magnetic north. On the right are spaces 
for the time, date, name, rank, and organization of the sketcher. 

MAKING THE SKETCH. 

39. 1. Hold the sketching pad in front of the eyes, facing the 
sector, upper edge of paper horizontal, the cord knot in the 
teeth. 

XoTE. — To use the vertical lines as a mil scale, this distance 
of 15 inches must be accurate. A cord threaded through the 
cardboard backing and running over tlie top of the pad at the 
center, knotted at 15 inches, will insure this distance. 

2. Close one eye, and move the paper laterally until the sector 
desired is included between the tv.-o orientation marks. The 
paper is now oriented. 

Note. — If the sector desired is too broad to be included be- 
tween the orientation marks, the field may be covered by 
making two sketches or by holding the pad closer to the eye. In 
the latter case the vertical lines will subtend more than 50 
mils, and the deflection must be determined with the musketry 
rule. 

3. With the paper thus oriented, the points or objects in 
the sector ai*e visible along the upper edge, appearing in their 
proper relative positions, horizontal and vertical. 

4. With a pencil place a mark near the upper edge of the 
paper opposite the most prominent points or objects in the 
sector. Marked features on the skyline are located first, as they 
aid materially in placing other points in the drawing. 

5. The lateral location of points on the skyline being thus 
determined, place the paper on the knee or other convenient 
support and transfer the marks from the upper edge to the 
" sketch section " of the paper. Commence with the mark 
opposite the highest point, which is placed an the first blue line. 



LANDSCAPE SKETCHING. 15 

This determines tlie Iiigliest part of the sketch. The marks 
locating other features are transposed in their relative vertical 
and laorizoutal positions. 

6. Draw tlie skyline, lightly, by connecting the transposed 
marks. This will give the horizon in profile. 

7. Other points, crests, targets, etc., are now entered in the 
same manner, reorienting the paper when necessary. With prac- 
tice the other features of the landscape may be drawn in with- 
out reorientation, once the skyline has been located on the sketch. 

8. The immediate foreground is indicated by a very heavy line 
above the circle. Tliis may be made by using the side of the 
pencil point. 

By this method the lateral proportions of the sketch will be 
fairly accurate. The vertical should be slightly exaggerated. Ko 
effort need be made to effect this, since most sketchers will do 
so unconsciously. 

Relative vertical proportions may be determined with accu- 
racy by moving the pad laterally until the highest point on tlie 
horizon is just visible past the right edge of the paper. Hold 
the uppermost horizontal blue line on this highest terrain feature 
and mark with a pencil the points where lower terrain features 
appear along the edge of the paper. Transfer these elevations 
to their proper places in the sketch. 

In addition to the skyline, important crest lines and other 
features will be sketched in, especially within the area of ad- 
vance. The position of fences, roads, walls, and woods of pos- 
sible military value must be included. Features of the fore- 
ground are omitted unless of military importance. 

No effort should be made to obtain purely artistic effect. 

Avoid detail. Show buildings;, woods, trees, and other features 
ouly in the outline of the silhouette. 

Shading is used only in denoting woods, cliffs, and embank- 
ments. 

MILITARY DATA. 

40. 1. A reference point is selected from the prominent ter- 
rain featui'es of the sector. This must be an object easily recog- 
nized by another person using the sketch. 

The reference point is identified on the sketch by a vertical 
line drawn from near the top of the paper, stopping just above 
the point or object. An arrow head is drawn at the lower end 
of this line and a zero (0) is bisected in the deflection (DF) 
section. Even when the enemy is very distinct a reference 
point is designated as the enemy may move or disappear. 



16 LANDSCAPE SKETCHING. 

2. lu the T- section at the toi) of the perpendicular is eutered 
the luime or description of the reference point and all other 
objects identified, including the letter denoting the nature of 
the target (I, A, C, MG). Conventional names such as "May," 
" June," " July," may be assigned to important terrain features 
in the absence of known names. 

When features on the horizon or terrain^ are beyond G,(X>0 
yards, estimate the distance in miles and enter same below the 
name of the feature in the T-section as — 

Blount Scott 
11 miles. 

3. Targets are accurately located on the sheet by the vise of 
conventional signs. 

In addition to these conventional signs, the location is em- 
phasized by a perpendicular dropped from the " T " line. At 
tile top of this perpendicular, the abbrevation I., C, A,, or M. G. 
furtlier indicates the nature of the target. 

In case the target or position shown has mari^ed linear dimen- 
sions, as infantry deployed, a perpendicular is dropped to eacli 
end of the line occupied. 

4. Information concerning the target and nothing else is 
Vv-ritten vertically upon the sketch along the perpendiculars in 
the broad space between the sketch and the DF* line. 

For example, on perpendiculars headed— 



4 Plat. col. advancing. 
Entrenched. 
Column, moving east. 

O. 

Led horses. 
Moving north. 



4 guns in position. 
Limbered. 

M. Q. 

4 guns in position. 
Moving west. 



LANDSCAPE SKETCHING. 



17 





^ 




p- 




b 




6 




p^ 




1- 




(1^ 




D 




•i t 




/ ^ 




J 1 lA 


c 


< ^ 


c 


. $ "^ 2 


f 


. i ] S 


c 


■ i 4 - 



U) 






7493°— 17- 



«^ 


*- 


•-< 


o 


<-» 


«^ 


7 


M 


O 


"^ 


» 


h4 


O 


^# 






w 


w 


^>» 


O 














jMI« 












CO 


H 












1 


z 








O 


w 

a) 
o 




ul 


ffc 










> 


u 


>» 


o 


o 


M 


>> 





+3 


»4 


iH 


a 


+» 


p 




■3 


1-4 

•H 


•H 

o 

a 




•3 



18 LANDSCAPE SKETCHING. 

The note on the perpendiciihir should state the strenjrth. 
formation, and whether in position or in motion ; if tlie latter, 
the direction taken. 

Give the length of target or enemy line in mils. This measui'e- 
meiit sliould he accurate witlnn 10 mils. 

Do not assign organizations to the enemy, as company, bat- 
talion, troop, etc., unless positive this information is correct. 
State the arm and give length of line observed in mils. 

5. Eange. — Estimated or measured, is entered in the RN 
space, across the perpendicular indicating the target or ob.iect. 
The method of determining the range is written after RN — 
" Estimated " or " Measured." 

6. Deflection. — The deflection in mils from the reference point 
is determined either by use of the vertical lines on the pad 
or by means of a mil scale and entered in the DF space across 
the perpendicular indicating the target or object. 

This deflection should never be in error more than 10 mils. 
Place a reference point on each sketch. Do not carry the deflec- 
tion across several joined sketches. The sketch containing the 
first refei'ence point may be lost, and thus make the others 
valueless. Each sketch must be complete in itself. 

7. The location of the sketcher is described by using the 
name of the ridge, knoll, etc., or by giving the direction and 
distance from a known point, as — 

"Evans Knob," or 

" Ridge 400 yards west of Apache Gate." 
This data is entered in the lower left-hand corner of the 
sketch. 

8. The sketches are numbered serially within the circle at 
the bottom of the pad. The location and direction illustrated 
on a route sketch are identified by the cori'esponding number 
in a circle with an arrow indicating the terrain sketched. 

9. The compass bearing is shown by an arrow with one barb, 
drawn beside the circle. To determine its direction, orient 
the sketch in a horizontal position with the " vertical " line 
marking the reference point pointing toward the reference point. 
Then draw the arrow parallel to the compass needle, barb 
toward the north. 

10. The time, date, and signature entered on right of the 
circle completes the sketch. 

Note. — Distance of pad from the eye. — The pad designed for 
use at the School of Musketry is ruled with vertical lines sub- 



LANDSCAPE SKETCHING. 19 

tending 50 mils when held 15 inches from tlie eye. This interval 
was selected as a matter of convenience to the student, conform- 
ing to the divisions of the musketry rule. 

If preferred, the paper can be oriented by holding the sheet 
about 12 inches from the eye and by moving the paper back 
and forth until the orientation marks coincide with two selected 
terrain features preferably on the sky line. In tliis case the 
deflection in mils must be determined by use of a mil scale, 
and tlie vertical spacing on the paper be ignored when enter- 
ing deflections from the reference point. The value of the 
intervals in mils (50) is correct only when tlie pad is held 
at the proper distance from the eye (15 inches). 

In making a hasty sketch on any paper at hand, the deliec- 
tion in mils is ascertained with a mil scale, or approximated 
by using the gun sight, lingers, or the trigger guard of a pistol. 
In infantry and macliiue-gun companies and battalions, the fol- 
lowing individuals should provide themselves with a mil scale 
as part of their field equijiment : 

(a) Battalion commanders. 

(h) Adjutants and reconnaissance officers. 

(c) Company commanders. 

((7) I^eaders of platoons, sections, and squads. 

(c) Seconds in command and platoon guides. 

(/) Scouts and agents of communication. 
Also, any other individual who asi»ires to any of the positions 
above enumerated, should provide himself with a mil scale and 
seek to pei-fect himself in its use. 

JOINING SKETCHES. 

41. Several sketches will often l)e made from one position 
for the purpose of showing more terrain than can be included 
on one sketch. 

■\Mienever two sketches are to be joined, the same terrain 
feature must appear on each — near the left edge of one and 
the right edge of the other. The procedure is as follows, when 
given a terrain too wide to be included in one sketch : 

Make a complete sketch, including the terrain from the left, 
for example, as far as the paper will permit toward the right, 
noting an object approximately beneath the right orientation 
mark and preferably on the sky line. The next sketch will 
commence with its left orientation mark over the feature noted 



20 LANDSCAPE SKETCHING. 

ou the right of the precefluig sketch, this feature appearing oa 
both sketches. This repeating of a feature on two adjacent 
sketches is continued luitil the required sector of terrain is 
covered up to a couiijlete panorama of 360°. 

A series of seven slcetclies may be made, for example, from 
one position, giving a panorama of 180°. If this panorama ex- 
tends from the east through the north to the west, the arrow on 
the first sketch indicating the magnetic bearing will lie parallel 
to the bottom of the paper pointing to the observer's left, the 
arrow on the fourth sketch (looking north) will lie at right 
angles to the lower edge of the paper, pointing toward the top. 
and the arrow of the last sketch (looking west) will lie parallel 
to the lower edge of the paper, pointing to the observer's right. 
The arrows of the second and third sketches will occupy inter- 
mediate positions with reference to the lower edge of the paper 
between those of the first and fourth sketches, and the arrows 
of the fifth and sixth sketches intermediate positions between 
the fourth and seventh. (See plate 4.) 

In assembling to form a panorama the sketches are placed 
in order on a flat surface with all the arrows parallel. In the 
above example, a panorama extending through 180°, the sketches 
form a semicircle. (See plate 4.) 

In " joining " two adjacent sketches, the corner of the right 
sketch (for example), folded muler in a line through the center 
of the common feature. (The fold usuallj- strikes the lower 
edge^of the paper about an inch from the corner and the right 
edge about one-half inch from the top.) Place the folded sketch 
over the other, so that half the common feature will be visible 
on each sketcli. and with this common feature as a pivot turn 
the right sketch until the arrows of both sketches arc parallel. 
The crests and other features of the two sketches should meet 
approximately along the edge of the fold. The section of the 
right sketch folded under will depict the identical terrain it 
covers on the left sket<'h. (See plate 5.) 

As landscape sketches are made rapidly and with a free hand, 
some adjustment of data will usually be necessary to secure un- 
broken lines whei'e the sketches meet. The joining should be 
checked on the ground and corrections made without hesitation. 

When several joined sketches are necessary to show the 
location of related targets, each sketch should be complete in 
itself with reference points, deflections, etc. 



LANDSCAPE SKETCHING. 



81 




22 



LAITDSCAPE SKETCHING. 

in rr 




77^y/Jy\//^M. 



Ko 




W'^i/Z^/^ 



/® 



1st Step In Joining. Two sketches 
showinfT same terrain feature near 
adjacent edges. 







'/^//y 



^© 



a_ 




2nd Step in joining. Corner of sketcli 
on right folded through center of 
reservoir hill preparatory to placing 
over eKeteh on left. 




Srd Step In joining. 

2 Sketches Joined. Pivot « 

on cbmmoi) point, arrows 

Plate 5. 



LANDSCAPE SKETCHING. 23 

The sketches will be joiiie<l as chords of n circle ami not arcs. 
This is because the successive sketches are drawn on flat sur- 
faces and between straight horizontal lines. A panorama will 
therefore consist of a series of sketches joined by slight angles. 
This will be found to interfere little with the accurate repre- 
sentation of the terrain. 

In the following pages plates G to 11, both inclusive, illus- 
trate the manner of depicting various features, such as skylines, 
roads, woods, pole lines, fences, railroads, buildings, and 
villages. Plates 12 to IS nre illustrative of finished sketches. 

MECHANICAL AIDS TO LANDSCAPE SKETCHING. 

42. There are several other methods iised in the instruction 
of beginners in landscape sivetching. Many of these require 
special apparatus not always available for use in the field. 

One system requires a frame bearing a number of vertical 
and horizontal cross wires which is placed in the ground at 
such a distance before the eye as to intercept the sector to be 
sketched. The paper used is ruled in rectangles corresponding 
exactly to those intercepted by the wires of the frame. This 
method is accurate but in practice has been found to develop a 
tendency toward filling in each rectangle with minute details. 
This results in slow, painstaking work instead of the rapid free- 
hand sketching essential in reconnaissance. 

Another method of use in learning to sketch is the follow- 
ing: A piece of wire gauze of mesh large enough to admit the 
point of a pencil is cut exactly the size of the paper used. To 
locate the critical points of the landscape on the paper, hold 
the gaiize out before the eye, orienting it on the main reference 
point or other selected features of the landscape. Place the 
pencil point in the gauze at the feature to be recorded, lay the 
gauze on the paper, thus locating this point. Do the same for 
the other prominent features of the terrain. It will be found 
advisable to locate the points along the skyline and complete 
this portion of the sketch first. Then locate and sketch in the 
features of the middle and foregi'ound. The gauze must be 
carefully oriented every time a point is located for transfer to 
the paper. For this purpose permanent orientation marks 
.should be placed on the gauze. A string attached to the center 
and held in the teeth will help in reorientation. This method 
will be of assistance to men who find difiiculty in transferring 
points from the upper edge of the paper to the proper place 



24 LANDSCAPE SKETCHING. 

in the sketch. The principle is very simple, and the result 
should be an accurate sketch. This scheme does not demand 
speciallj' ruled paper and no apparatus beyond the gauze. 

These two methods are mentioned as of possible interest to 
encourage men who find landscape sketching difficult at first. 
The confidence engendered by the results attained from the 
use of these or similar aids to sketching will soon enable a man 
to draw with no assistance other than pad, pencil, and eye. Any 
method is satisfactory that will produce results. 

The system of landscape sketching described in detail in 
this pamphlet has been carefully considered and tested. It is 
believed that little difficulty will be encountered in its use. 
The pads prepared for iise in this work at the J^choo] of INIus- 
ketry are designed for men first atteniitting this important 
and heretofore neglected item in the military education of the 
professional soldier. 



LANDSCAPE SKETCHING. 



25 





26 



lANDSCAPE SKETCHING. 




LANDSCAPE SKETCHING. 



2? 





iB 



XA3fDSCAPE SKETCHING. 




LANDSCAPE SKETCHING. 



29 




30 



LANDSCAPE SKETCHING. 




LANDSCAPE SKETCEIKG. 



31 



HI 



5 



2: -^ 

I O 




3S 



LANDSCAPE SKETCHING. 




LANDSCAPE SKETCHING. 



3» 



^ 



1 



-pstfTusyjcr 



p3>i3U9Jf.U3 %hln9 P- 



flV^IO^jfu^ "" 




^% 



34 



lANDSCAPE SKETCHING. 




LANDSCAPE SKETCHING. 



85 




36 



LANDSCAPE SKETCHING. 



"t. 






^o. 







LANDSCAPE SKETCHING. 



37 



-#^ 



< 




o 



Ill 



Gaylord Bros. 

Makers 
Syracuse, N. Y 
P*T. JAM. 21, \m 



